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The collection consists of the Ukrainian folk tales collected and translated by Nick Evasiuk, one page of "explanatory remarks & apologies" by Nick, a letter from Nick to George (?), and a reply to Nick and Nettie without signature.

The collection consists of the photographs by Andriy Nahachewsky taken while in Wroclaw in the summer of 2016; music scores and publications collected at the Holy Cross Ukrainian Catholic church. There is a large Ukrainian community in this big city, which became part of Poland after WW2, and to which Ukrainians voluntarily and involuntarily moved as Poland Polonized Silesia (and de-Ukrainianized Lemkivshchyna, Chelm, Przemysl). The church is a huge cathedral. It is historically important and is a tourist destination.

The photographs depict the cathedral (Українська католицька катедра Воздвиження Чесного Хреста), Prawoslawna Parafia sw. Archaniola Michala (Orthodox Slavic Church), Ukrainian restaurants in Wroclaw, a graffito of Ukrainian trident.

Music scores are handwritten, typed or copied notation of the music sung by the cathedral choir, including church music, carols, Holodomor concert, etc.

The publications include one issue of the monthly periodical of the Ukrainian Greek-Catholic Church in Poland "Blahovist" (Благовіст), one issue of "Khrystyians'kyi holos" (Християнський голос) - a Ukrainian religious newspaper published in Munich, and an issue of the newspaper "Nash vybir" (Наш вибір) - a newspaper for Ukrainians in Poland. There is a brochure of the Prawoslawna Parafia sw. Archaniola Michala (Orthodox Slavic Church).

This series contains copies of selected materials from the fieldtrips that were combined, edited, and annotated for presentations in Brazil itself, as well as later presentations and publications based on these trips. Nahachewsky made a number of edited videos on specific topics in the form of DVDs while based in Prudentópolis, distributing them to specific relevant interviewees and community members. He gave public presentations in Prudentópolis, in Irati, and several times in Curitiba, prepared with Photoshop slideshows. Presentations based on the trip were also made on various specific topics in Canada and elsewhere in the following years. Dedicated subseries contain information on the development of the exhibit Oi! Ukrainians in Brazil in Farms and Cities (see also the Nahachewsky collection containing research and publications), as well as editorial drafts and communication related to the book Ukraintsi Brazylii / Os Ucranianos do Brasil / Ukrainians in Brazil (Maryna Hrymych, Andriy Nahachewsky, Serge Cipko, and Olga Nadia Kalko, eds., Kyiv: Duliby, 2011).

This series contains digital and hard copies of printed materials brought from Brazil and which cover general themes about Ukrainians, about Brazil, or about Ukrainian topics. If a publication deals very specifically with the focused topic of one of the other series, it is located there, so a booklet of Easter Haivky, for example, will be placed in the series on Calendar Customs. This series includes copies of newspapers, book and chapter publications, manuscripts, videos, audio files, phonograph labels, printed ephemera, and records of Brazilian-based exhibits. The texts are in Ukrainian or Portuguese, and occasionally in English. Most of these publications are written in Brazil itself, though others were created elsewhere and brought into Brazilian collections.

This series contains photographs, maps and other information about specific locations relevant to the Ukrainian community in Brazil. A subseries is dedicated to landscapes and cityscapes, providing a general sense of the physical appearance of those places. If an item deals with a particular public location that is not specifically associated with Ukrainian cultural life, such as a big cathedral in a city, then it is placed in the series on Public Spaces below. The collected fieldwork on various specific folkloric traditions reveals that Ukrainian Brazilian culture has had strong regional diversity as it became consolidated over the 20th century, and this diversity continues to some degree. A separate subseries of maps in this series contains general and detailed, contemporary and historical maps of Brazil, Paraná specifically, and especially the Municipio of Prudentópolis. Many of the maps are reproduced by photography, and thus divided in segments.

This series contains information on immigration history to Brazil, with a strong focus on Ukrainian immigration. Some interviews and documents describe particular migration stories, and others provide more generalized narratives. Early years in the cities and in the colonias predominate, though historical and family developments throughout the 20th centuries are included, such as secondary migration into northwest Paraná, the anti-ethnic tension in the period of World War Two, later waves of immigration, and relations with Ukraine. A subseries devoted to Ethnic Public Monuments focuses strongly on Ukrainian commemorations, but include those of neighbouring ethnic groups. Items produced as Ukrainian national symbols are collected into a separate subseries, strongly connected with materials in the series on Organized Life and on the Ukrainian churches. The subseries on Museums contains documentation of the physical structures of the museums, and overviews of their collections and presentation. If a photograph or other document focuses on a particular museum object, it is placed in the series on Settlements, Agriculture, Homelife, Organized Life, or Church Life, as most relevant. A smaller subseries is devoted to Education, and particularly Ukrainian educational materials and activities in Brazil. Documentation about general Brazilian historical culture, treated self-consciously as “heritage” is also found here (materials about old houses, historic transport, pioneering farming practices for example).

This series contains materials associated with agriculture, agricultural practices, and tools, including contemporary agriculture, as well as remnants and remembrances of practices from the past. The idea of agriculture is treated broadly here, and this series includes related traditional activities and crafts such as animal husbandry, textile making, lumbering, hunting, stonework, shoemaking, barrel making, and others. Information specifically about plants and animals is collected in a special subseries.

This series has a strong focus on church architecture, with many photo essays documenting the current form of dozens of particular churches, their interiors, exteriors, and churchyards. A second strong focus is on icons, holy pictures, and religious art. A great many of the approximately 240 Ukrainian churches in Brazil were built after the 1960s, and many have been (re)painted since that time. Numerous local and international iconographers and painters have been engaged to paint them, many with strong personal styles and diverse skill levels. Numerous other holy pictures are displayed in houses, public facilities, museums, and in the artists’ studios. During the fieldwork, an explicit research interest developed in the various iconographers and painters, with dedicated interviews in several cases. This series also assembles historic information and participant observation of religious life from parishioners’ perspectives. Video recordings include church services and holiday celebrations. This series overlaps closely with the series on Calendar and Life Cycle celebrations, and with the series on organized life.

This series assembles the variety of information on Ukrainian Brazilian culture that has been assembled by Andriy Nahachewsky after May 2010, when he returned to Canada.

This series is reserved for documents, photos, recordings which either don’t fit well into previous series, or seem relevant but which are unidentified.

The collection consists of field materials collected by Jason Golinowski during his master studies at the Ukrainian Folklore program, University of Alberta, as well as essays on a wide range of Ukrainian folklore topics, such as Ukrainian crafts, rites of passage, folksongs, celebrations, personal narratives, and others.

This paper discusses the Ukrainian customs and rites related to pregnancy and childbirth that are presently being done by Ukrainians and Ukrainian Canadians. Includes project proposal.

Summary of the study "Ukrainian Customs and Rites Related to Pregnancy and Childbirth". This summary corresponds to the paper UF1996.019.

Various folklore assignments. Includes: book reviews, content analyses, and essays.

Gordon Gordey autobiographical reflection of a 40-year creative journey with The Ukrainian Shumka Dancers of Canada recounts his experiences creating his original artistic works with The Ukrainian Shumka Dancers of Canada. By documenting his dance concepts and librettos Gordey reveals his challenge to contribute original works to the canon of Ukrainian dance that is spiritually connected to generations of continuous cultural practice and resonates with 20th and 21st century audiences in Canada, Ukraine, Russia, and China. He speaks to evolving dance stories that embed themselves in viewer’s minds and become shared cultural touchstones in the evolution of our Canadian identity at home and abroad. Dance concepts and librettos for: Shumka’s Cinderella, Pathways to Hopak, Girl in the Red Dress TANGO, Vechornytsi (the multi-works in Life is a Cabaret), Eve of Kupalo - a Midsummer’s Night Mystery Masque and Voices of the Silenced are enhanced with photographs and video excerpts of the dances in performance.

This work was published in Ukrainian as a peer reviewed chapter in Collected Papers on Ukrainian Life in Western Canada, edited by V. Polkovsky and M. Soroka, Ostroh Academy National University Press, 2014, Vol. XLVII, Part Seven, pp. 242-275. All rights reserved. The English text was revised in 2016 for the deposit into the Archives. We have digital and physical access copies.